寫作就是施咒

前言

　　記得2004年7月，我重訪哈佛大學時，發(fā)現(xiàn)原先英文系的辦公小樓已換成美國黑人文學研究所的牌子，后來聽說杜克、康奈爾和艾默里等名校也建立類似的黑人文學研究中心。我又到波士頓幾家大書店走走，看到黑人女作家托妮·莫里森、艾麗絲·沃克和瑪雅·安吉拉以及黑人男作家伊什梅爾·里德的作品都擺在突出的位置，很吸引讀者。我想，這也許是莫里森1993年榮獲諾貝爾文學獎帶來的旋風吧！美國黑人文學研究出現(xiàn)了新熱潮，值得我們關(guān)注和重視?！　』貒螅壹氉x了幾本重要的外國文學雜志，感到國內(nèi)學界也有新變化：評析莫里森小說的論文增多了，解讀艾麗絲·沃克小說的論文也不少，但對里德，一篇論文都難找到。我覺得可以做點工作。我對美國黑人文學很感興趣，曾譯過沃克的長篇小說《紫色》，多次與她通信，請教過她許多問題；我也寫過評莫里森長篇小說《最藍的眼睛》的論文，還指導過兩位博士生評論莫里森和沃克的兩篇學位論文。我讀過里德的小說《芒博瓊博》，深感其內(nèi)容和形式都很有特色，曾想好好地評一評，總擠不出時間。望著書房里書架上里德的小說《黃后蓋的收音機破了》、《逃往加拿大》、《可怕的兩歲娃娃》、《可怕的三歲娃娃》、《春季日語班》等，我陷入了沉思：要是有一位博士生來寫里德。那該多好！　　不久，林元富同志來找我討論博士論文的選題，我問他自己看上了哪位美國作家？他說還沒呢！他希望我?guī)兔Τ龀鲋饕?。我隨口向他推薦了德里羅、蘇克尼克、歐芝克等作家，然后不經(jīng)意地提到伊什梅爾·里德。我接著說，寫里德，難度極大，他的小說不算多，但結(jié)構(gòu)怪誕。想象奇特，英文深奧難懂，難怪國內(nèi)至今難見一篇評里德的論文，更看不到他小說的中譯本。

內(nèi)容概要

　　《論伊什梅爾·里德后現(xiàn)代主義小說的戲仿藝術(shù)》是林元富同志根據(jù)他的博士學位論文《論伊什梅爾·里德后現(xiàn)代小說戲仿藝術(shù)》修訂而成的。它是我國第一部系統(tǒng)研究美國黑人作家伊什梅爾·里德的專著，具有較高的學術(shù)價值和現(xiàn)實意義。它有力地填補了我國學界里德研究的空白。

作者簡介

　　林元富（1963．11-），男，漢族，福建泉州泉港人。1985年畢業(yè)于福建師范大學外語系，獲學士學位，2001年獲碩士學位；2008年獲廈門大學外文學院英語語言文學專業(yè)博士學位?，F(xiàn)為福建師范大學外國語學院副教授、碩士生導師、英語系主任，擔任本科與碩士研究生的《英美文學》課程教學。主要研究方向為美國后現(xiàn)代主義小說、黑人小說和當代英美文論，獨立完成或參與多項省級社科項目。2001年以來已在《外國文學》、《外國文學研究》等核心刊物上發(fā)表論文10余篇。社會兼職：福建省外文學會副秘書長、《外國文學研究》理事。

書籍目錄

序List of AbbreviationsIntroductionA. Ishmael Reed and the Literary TokenismB. Ishmael Reed and His WorksC. Ishmael Reed and His CriticsD. Reed Study in China and the Framework of the Present StudyChapter 1 Satire's Edge： Ishmael Reed and the Postmodernist ParodyA. Postmodernist Parody as Pastiehe——Reedian parody in Fredrie Jameson's Model 1. Pastiche， Schizophrenia and the Loss of Historicity2. Simulacra， Historical Fiction and Crisis in Historicity3. Reification， Bricolage， and the Random Play of Signifiers4. Pastiche and Textual Play in Ishmael Reed's FictionB. Postmodernist Parody as "Double-Coded" ParadoxmReedian Parody in Linda Hutcheon's Model　1. A Poetics of Paradox and the Representation of History2. Historiographic Metafiction and the Problematization of History3. Postmodernist Parody and Its Double-Coded Politics4. Parody and Cultural Critique in Ishmael Reed's FictionC. Towards a Pluralizing Interpretation of Postm0dernist Parody Chapter 2 The Black Cowboy in the Marlboro World： Ishmael Reed's Parody of the American WesternA. Generic Conventions of the American WesternB. Parodic Transgressions in Yellow Back Radio Broke-Down1. Narrative Innovation and Cultural Rewriting2. The Apocryphal History and the Triumph of VoodooChapter 3 The Voodoo Houngan on the Case：Ishmael Reed's Parody of the Detective FictionA. Detective Fiction and Its Generic ConventionsB. Detective Fiction and the Postmodernist Proliferation of the Anti-Detective FictionC. Detective Fiction and Its Revision by the African American NovelistsD. Mumbo Jumbo as a Text of Black Anti-Detective Fiction1. The Elusive Mystery， the Missing Text and the Cuhural Connotation of the Crime2. The HooDoo Trickster Detective Persona and His Metaphysical Detection of History3. The "Amphibious" Text and the "Game" of DecodingChapter 4 The Black Raven in the South： Ishmael Reed's Revision of the Slave NarrativeA. The Slave Narrative and Its Paradigmatic GesturesB. The Slave Narrative and Its Contemporary Revision the Neo-Slave NarrativeC. Flight to Canada and Its Revision of the Slave Narrative1. Parodic Revision and Reed's Rewriting of Antebellum History2. Character Reversal and Reed's Reexamination of the Dynamics of Slavery and Freedom3 Non—literaiy Refe~~nees and Reed’s Critique of Cultural MisappntpriationChapter 5 The Black Junior Professor Amidst the Cultural Wars：Ishmael Reed's Parody of the Academic FictionA Academic Fiction and Its Satire of the Ivory TowerB．The Muhicultural Movement and the American Cultural Wars C Japanese by Spring and the American Cultural Wars1 Jack London College and the Malaise of Muhicuhuraiism 2 Cipher Characters and the Monoculturai Factions in Jack London College3 Jazz Inspired Plot Improvisation and Reed’s Critique of Monoculturaiism4 The Authorial Intrusion and Reed’s Vision of MuhicuhuralismConclusionWorks Cited伊什梅爾·里德生平大事記后記

章節(jié)摘錄

　　African American cultural construct， and a literary method employed byReed as well （Martin 80）. Since the 1990s， booklength studies haveexpanded the Reed critical canon both in range and in diversity， as inIshmael Reed （1993） by Jay Buyer， Ishmael Reed and the Ends of Race（1997） by Patrick McGee， and The Critical Response to Ishmael Reed（1999） by Bruce Allen Dick， who facilitated criticism on Reed with abulky， collected Conversations with Ishmael Reed （1995）. At the turn ofthe century， studies on Reed's canon have related Reed's works tospecific genres of the academic fiction， of the neoslave narrative and theAfrican American satire. Worth noting is Darryl DicksonCarr's studythat leads him to conclude that Reed's fictions already have "had asignificant impact upon at least some of the younger satirical novelists ofthe 1980s and 1990s， most notably in their irreverence towardconstructions of history that consciously exclude for the sake ofmaintaining inequalities， oppressive hierarchies， and false dichotomies" （163） In retrospect， DicksonCarr's analysis reiterates Gates' 1993observation that Reed is the precursor to a number of young black artists who proclaim themselves " The New Black Aesthetic " in both philosophical orientation and artistic vision （Loose Canons 145 ）. 　　……

編輯推薦

　　《論伊什梅爾·里德后現(xiàn)代主義小說的戲仿藝術(shù)》以伊什梅爾·里德的戲仿藝術(shù)為研究重點，依據(jù)后現(xiàn)代主義理論、當代黑人文學批評理論以及文化研究的相關(guān)成果，從功能研究角度探討里德對西方小說傳統(tǒng)的戲仿性改寫技巧和他對該傳統(tǒng)的認識論的解構(gòu)。

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